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Performer: Aigul Akhmetshina

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LondonRussian Opera Gala

Russian Opera Gala
Rachmaninov, Bizet, Handel, Verdi, Arensky, Mozart, Glière, Puccini, Donizetti, Traditional Russian, Di Lazzaro, Denza, Rimsky-Korsakov
Unknown; Graham Owen Jones; Vasily Gerello; Larissa Gergieva; Irina Chernova; Larisa Rudakova

LondonLady Macbeth of Mtsensk

Brandon Jovanovich (Sergey), Eva-Maria Westbroek (Katerina) © ROH | Clive Barda
Shostakovich: Lady Macbeth of the Mtsensk District
Sir Antonio Pappano; Richard Jones; Royal Opera; John Macfarlane; Nicky Gillibrand; Eva-Maria Westbroek; Brandon Jovanovich

LondonJette Parker Young Artists Summer Performance 2018

Nick Fletcher; Noa Naamat; Royal Opera; James Hendry; Matthew Scott Rogers; Francesca Chiejina; Lee Haegee

VillachKärntner Sinfonieorchester & Aigul Akhmetshina

Various: Arias from Opera
Kärntner Sinfonieorchester; Kristiina Poska; Aigul Akhmetshina

LondonCarmen

Bizet: Carmen
Keri-Lynn Wilson; Barrie Kosky; Royal Opera; Katrin Lea Tag; Ksenia Dudnikova; Brian Jagde
Latest reviewsSee more...

No muddle, just music: ROH Lady Macbeth of Mtsensk

Brandon Jovanovich (Sergey), Eva-Maria Westbroek (Katerina) © ROH | Clive Barda
The Royal Opera Orchestra produce a revelatory reading of Shostakovich’s eclectic score; a fine performance from Eva-Maria Westbroek and excellent acting from the whole cast light up the drama and farce.
****1
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Kosky's Carmen fails to light fires

Jacquelyn Stucker (Frasquita), Anna Goryachova (Carmen) and Aigul Akhmetashina (Mercédès) © ROH | Bill Cooper
Interesting ideas and a brilliant orchestral performance aren't enough to overcome a visually dull staging, predictable choreography and a lack of chemistry between the protagonists.
**111
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Tragedy undermined at Wilton's

Aigul Akhmetshina (Carmen) © Clive Barda
Paring the action down to just four singers, La Tragédie de Carmen is the perfect vehicle and venue for a handful of the Royal Opera's Jette Parker Young Artists to strut their stuff.
**111
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Fringante Cenerentola à Baugé

La Cenerentola © Opera de Baugé
S’attaquer à Rossini implique de comprendre son alchimie – en somme, de se souvenir qu’il ne peut exister sans qu’on mobilise la légéreté et la tenue, le souffle et la précision.
***11
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